Korg R3

Occupying the middle ground in Korg's MMT lineup between the flagship
Radias and the ultra-portable microKorg XL,
the R3 delivers sophisticated virtual analog power in a compact yet
sturdy package. Its 37 full-sized, velocity-sensitive keys and four
assignable knobs make it a lightweight yet flexible performance
instrument for shaping classic modeled sounds with a synthesis engine in
the spirit of the MS2000.

The R3 is marketed as a "Synthesizer/Vocoder", and the
included gooseneck mic lets you take full advantage of its 16-band
vocoding capabilities right out of the box. Simply enter Vocoder mode
for access to all of the vocoder's variables that work with an internal
or external carrier signal. It also lets you record up to sixteen
7.5-second Formant Motion sequences, allowing you to play saved
phrases—albeit at a fixed tempo—through the vocoder without
external input. Whether you're looking to channel the spirits of sci-fi
robots, make a guitar do backing vocals or are in need of some
unconventional choral accompaniment, the R3's pro-grade vocoder earns
its place in both the mix and the title.

Each of the 128 editable patches can contain up to two timbres, sharing
the somewhat meager polyphony between them. These can be layered or
divided across the keyboard and can be assigned to individual MIDI
channels. Each of these two timbres contain all the capabilities listed,
so despite being well suited for mono and lead styles it's possible to
get surprisingly complex, evolving pads which belie its 8-note
polyphony. This is best displayed when using each timbre's modulation
sequence, which lets you record a variable's knob changes and can yield
complex changes in a single key press. There's also a 6-mode arpeggiator
with a toggle button and latch control to further animate the sound.

Every timbre consists of two LFOs, two oscillators, a wave-shaper with
sub-oscillator options, two insert effects, and three envelope
generators for filter, amp, and one for assignment using the Virtual
Patch system. This feature lets you define up to six additional
routings, giving the unit a fitting touch of modular dynamics which can
add subtle dynamics or make sounds spiral off into mayhem. Unfortunately
the routings are limited, but most of the logical sources and
destinations are included. The two oscillators cover a wide range of
traditional analog waveforms with some useful extras (osc1 includes 64
DWGS preset waveforms and the vowel-like Formant wave) and allow a
number of interactions between them: ring mod, VPM and unison, among
others. External signals can also be processed through the filters,
gates and effects. All of this is wrapped up with one master effect and
a variable 2-band EQ with some other fine-tuning mods to polish the
finished sound.

All of this programming demands an intuitive interface, and although it
involves some menu-diving, this is handled by selecting the category
with a rotary encoder and then editing individual variables with the 4
main pots. Though it isn't "per-knob" editing, each pot is
encircled by a slick-looking LED halo which shows the value regardless
of the knob's current position. Each knob also has its own small LCD
screen which can show the variable or its value by hitting the shift
key. This combination along with the Original Value light takes much of
the drudgery and guesswork out of building your own patches, but it's
recommended to load up the included software editor since some
sub-variable and effects tweaks can seem cryptic at first.

Overall, the R3 is a fun, good quality, affordable synth for anyone who
enjoys sculpting sounds using traditional subtractive synthesis, and
offers enough complex features and character to earn its place in the
mix. Great to program and built with portability in mind, the R3 has
what it takes to rock the stage!